Tag: music industry

Committee alarmed by “climate of fear” around dominant firms in UK music industry

The UK’s Competition and Markets Authority (CMA) should launch a full market investigation into the live music industry before the end of 2026, says the Commons Business and Trade Committee in new report.

The Committee concludes that for Live Nation, and possibly wider in the live music market, there are concerns against all three of the CMA factors for determining market dominance.

After a public outcry in 2024 over the way Oasis reunion concert tickets had been marketed, a CMA investigation found that Ticketmaster had misled consumers and used unclear ticketing practices.

Ticketmaster initially refused to subject themselves to public scrutiny by the Committee but ultimately appeared in Parliament in February 2025, returning with their parent company Live Nation in June 2025.

The Committee was left with serious concerns about the state of competition in the live music industry in the UK.  

Live Nation Executive President Phil Bowdery explained away the company’s large market share in arenas and stadia, saying “we are very good at what we do. Therefore, there is interest from the major artists to be with Live Nation.” But evidence submitted to this inquiry suggests an alternative explanation for Live Nation’s dominant position.

A call for written evidence elicited 45 submissions, with a significant proportion requesting to submit anonymously or confidentially for fear of reprisal: in itself this triggered alarm about whether Live Nation has a dominant and controlling market position, and the climate of fear this may have created in the industry.Concerns

Concerns raised in evidence include:

  • The scale and integrated nature of Live Nation’s business model make it difficult for artists and managers to operate independently of its ecosystem.
  • This can begin right at the point of artist entry into the industry from grassroots level, with concentration at arena, stadium and major festival level reduce opportunities for independent promoters and venues to access and scale artists through the wider touring circuit. 
  • The same problems are reported by smaller and independent festivals who find access to talent increasingly challenging.
  • The lack of uptake of an industry led levy on arena and stadium tickets to support the grassroots sector – as suggested in 2024 by the Culture, Media and Sport Committee and endorsed by Government – has been widely attributed to Live Nation not implementing the levy.
  • Live Nation uses long-term agreements with restrictive exclusivity terms that make access to its venues contingent on participation in its festivals (or vice versa), incentivising artists to consolidate touring arrangements with the company and reducing opportunities for competing promoters and events.
  • Independent promoters alleged that venues owned or controlled by Live Nation favour in-house promotion businesses and integrated ticketing arrangements impeding competition.    
  • In primary ticketing, Live Nation directly controlled 58% of the 23.1 million tickets on sale in 2025, increasing to 66% if sales controlled by its affiliate companies are included.     
  • In secondary ticketing, the Committee received evidence indicating the restriction of resale activity to Ticketmaster’s own resale platform.
  • This control of ticketing infrastructure – some evidence alleged that even where third-party ticket agents participate in sales, they are required to integrate their systems with Ticketmaster’s – allows the company to retain customer data even from competitors, which can then be leveraged across promotion, marketing and event operations.

Rt Hon Liam Byrne MP, Chair of the Committee, said: “Britain’s live music scene is one of our great national success stories, from grassroots venues nurturing new talent to world-class arena and stadium tours that attract global audiences.

“But the evidence we received during this inquiry points to deep concerns about whether competition in the industry is now working fairly for fans, artists, venues and independent promoters.

“What particularly alarmed the Committee was not just the scale of Live Nation’s market position across promotion, venues and ticketing, but the climate of fear we encountered during this inquiry.

“A striking number of submissions requested anonymity because people were worried about the consequences of speaking openly. That alone raises profound questions about the health of competition in the market.

“The CMA should now launch a full market investigation, before the end of this year, so there can be proper scrutiny of whether consumers, artists and independent businesses are getting a fair deal.”

Urgent action required to tackle ‘endemic’ misogyny faced by women in the music industry, committee warns

Women pursuing careers in music face “endemic” misogyny and discrimination in a sector dominated by self-employment and gendered power imbalances, Westminster’s Women and Equalities Committee (WEC) has warned.

WEC’s ‘Misogyny in Music’ report laid bare a “boys’ club” where sexual harassment and abuse is common, and the non-reporting of such incidents is high. Victims who do speak out struggle to be believed or may find their career ends as a consequence.

Despite increases in representation, women encounter limitations in opportunity, a lack of support and persistent unequal pay; these issues are intensified for women facing intersectional barriers, particularly racial discrimination, the report found.

Female artists are routinely undervalued and undermined, endure a focus on their physical appearance in a way that men are not subjected to, and have to work far harder to get the recognition their ability merits.

Making a series of strong and wide-ranging recommendations, the cross-party committee of MPs called on ministers to take legislative steps to amend the Equality Act to ensure freelance workers have the same protections from discrimination as employees and bring into force section 14 to improve protections for people facing intersectional inequality.

It also recommended the Government should legislate to impose a duty on employers to protect workers from sexual harassment by third parties, a proposal the Government initially supported and then rejected last year.

Both the music industry and Government, WEC said, should increase investment in diverse talent and make more funding available to the schemes that support it. Pathways to careers for women working in the sector must improve it added, particularly in male-dominated areas such as Artists and Repertoire (A&R), sound engineering and production.

Record labels should commit to regular publication of statistics on the diversity of their creative rosters, with all organisations of more than 100 employees required to publish data on the diversity of their workforce and gender and ethnicity pay gaps.

On non-disclosure agreements (NDAs), the report cited distressing testimonies of victims “threatened into silence”, with WEC urging ministers to prohibit the use of non-disclosure and other forms of confidentiality agreements in cases involving sexual abuse, sexual harassment or sexual misconduct, bullying or harassment, and discrimination relating to a protected characteristic.

The Government, WEC recommended, should consider a retrospective moratorium on NDAs for those who have signed them relating to the issues outlined.

The report also called for strengthened requirements for industry areas where harassment and abuse are known to take place. It recommended that studios, music venues and the security staff that attend them should be subject to licensing requirements focused on tackling sexual harassment and that managers of artists should also be licensed.

WEC supported the Office for Students’ proposed new condition of registration and potential sanction for educational settings aimed at improving protections for students and urged the OfS to “implement its proposals swiftly and to enforce them robustly”.

The establishment of a single, recognisable body, the Creative Industries Independent Standards Authority (CIISA) WEC’s report concluded will help to shine a light on unacceptable behaviour in the music industry and may reduce the risk of further harm.

But the committee cautioned it is “not a panacea for all of the problems in the industry” and “time will tell whether it has the powers required to drive the changes needed”.

Chair of the Women and Equalities Committee, Rt Hon Caroline Nokes MP said: “Women’s creative and career potential should not have limits placed upon it by ‘endemic’ misogyny which has persisted for far too long within the music industry.

“Our report rightly focuses on improving protections and reporting mechanisms, and on necessary structural and legislative reforms.

“However, a shift in the behaviour of men—and it is almost always men – at the heart of the music industry is the transformative change needed for talented women to quite literally have their voices heard and be both recognised and rewarded on equal terms.”

On The Road Again: Scottish Government to launch Scotland on Tour live music fund

Musicians, bands, artists and venues will be able to apply to a £750,000 Scottish Government fund to bring new and additional concerts to venues and festivals in Scotland next year.

Scotland on Tour will support the staging of concerts across the whole nation from between January 2022 and January 2023.

Funded by Scottish Government and organised by Active Events, its decision-making panel includes representatives from across the music industry, as well as Creative Scotland, Scottish Enterprise, Highlands and Islands Enterprise, XpoNorth and South of Scotland Enterprise.

Participating artists, venues and festivals will be announced later this year.

Culture Minister Jenny Gilruth said: “Due to the impact of COVID-19, I know many concerts from 2020 and 2021 have been postponed – leaving little opportunity for artists to perform new concerts in traditional venues or concert halls up until late 2022, or even spring 2023.

“So I am very pleased to announce Scotland on Tour, a fund to help artists, venues and the wider music industry by creating new concert opportunities across Scotland next year.

“The fund is not only an exciting opportunity for artists and venues, but also for Scottish audiences, who will have the chance to see the best of Scottish music right on their doorstep.”

Director of Active Events Lisa Whytock said: “The past 18 months have been exceptionally challenging for musicians and promoters around Scotland.

“This fund will allow new concerts from professional musicians to take place across the country, bringing world class performances to cities, towns and local communities whilst simultaneously supporting production companies and skilled freelancers in their delivery.

“We are extremely excited about the project and would like to wholeheartedly thank the Scottish Government for their investment.”

Head of Music at Creative Scotland, Alan Morrison, said: “At the height of the pandemic, Active Events applied to Creative Scotland’s Open Fund for a research project that would identify community partners and increase touring opportunities for musicians when restrictions finally lifted.

“This bold vision for recovery has blossomed into a new touring fund, supported by the Scottish Government, that will breathe life back into the live music sector across the entire country.

“It’s extremely encouraging to see how a seed that was sown in darker times is growing into a major year-long programme that will bring music fans and professional artists of all genres back together again.”

Further details will be announced soon as to how artists and venues can apply to the Scotland on Tour fund, which is expected to open for applications in October. 

Registrations of interest to the fund can be recorded by sending an email to info@scotlandontour.com